The time has come when Euskal Herria’s opera fans await each year, the premiere of the AOA season. This cultural association that celebrates its 62nd anniversary, so deeply rooted among our music lovers, maintains its illusion and strength, despite the consequences of the crisis. Subsidies from public institutions have gone to hell, but this year we also have the seven titles that are offered throughout the year. The effort made by ABAO is appreciated, taking into account the limited possibilities we have for enjoying the opera. Go on!

 

We expect a pleasant and quite complete season, although it is also a little easy. Easy, because they have lacked some courage to present less well-known works or to schedule authentic and contemporary music. We heard a 20th-century opera. Adriana Lecouvreur of Francesco Cile, however, this opera premiered in 1902 cannot be considered a breakthrough work. However, as I say, we will have great titles: I Puritani de Bellini, Carmen de Bizet and Turandot de Puccini.

 

On the other hand, Verdi will have a special role: on the one hand, because it celebrates the 200th anniversary of the birth of the composer, and on the other, because the Tutto Verdi project of the ABAO, begun eight years ago, follows its trajectory. Thus, three works by Verdi have been programmed: Giovanna d’Arco, Rigoletto, a well-known masterpiece, and The Forza of Destiny, a work performed in old age.

 

The first title of the season was for Giovanna d’Arco. Bittersweet. It's not Verdi's brightest play, but it has a very special melodic style, and the characters are well-designed. The libretto, based on the novel by Schiller Die Jungfrau von Orleans, mixes the heroic side of the character and the romantic image with an interesting story. The best of the performance: the scenography, by Alessandro Camera; the magnificent lighting, by Andrea Borelli, and the performance of the Orchestra of Euskadi, which under the batuta of its director Yves Abel, always fine, precise, highlight the voices.

 

The protagonists were the ones who, somehow, failed us. The Bulgarian soprano Krassimira Stoyanova, in the role of Giovanna, spread a thin and flexible voice, but did not express the value the character needs, as its interpretation occurred on the plane. Asturian tenor Alejandro Roy demonstrated a superior personality than his teammates. His interpretation of the role of King Carlo VII was convincing and his voice was of great possibility. But among all, I think the best was the interpretation of the Italian baritone Claudio Sgura. The singer has a certain voice, both expressive and full of nuances. It was the first time he was among us, and we hope to hear him again.

 

Address: Yves Abel.

Address: Boris Dujin.

Scenography Alessandro Camera.

Soloists: Krassimira Stoyanova (soprano), Alejandro Roy (tenor), Claudio Sgura (baritone).

Place: Euskalduna Palace

Date: 21 September.